Fátima Ordinola’s debut picture book, Our Love, published by Post Wave Children’s Books, is a heartfelt celebration of unconditional love. A deeply personal project inspired by family bonds and life’s quiet, meaningful moments, the book explores love’s enduring presence in our everyday lives. We had the joy of speaking with Fátima about the creative journey behind Our Love, from cinematic influences to her unique artistic process, and the heartfelt connections that shaped this stunning debut.

What inspired this story? Was there a particular moment or idea that set it in motion?

I love watching movies. Going to the cinema is an inspiring experience where I can immerse myself in my thoughts and connect with different stories. One of the movies that inspired Our Love was Aftersun directed by Charlotte Wells. It’s a story about the relationship between a dad and his daughter and how their dynamic develops during a summer holiday. There’s a scene in this movie where the characters dance to the song Under Pressure by David Bowie and Queen and it clicked something in me. I found myself listening to this song all day and thinking of the lyrics ‘Why can’t we give love that one more chance? Why can’t we give love, give love, give love, give love…’ and it really moved me. I left the theatre inspired and ready to dive into my sketchbook with lots of ideas about the concept of love. Another song that inspired my works is Two of us by The Beatles which made me reflect on my relationship with my family, my parents and siblings, and how our everyday activity can be an act of love.

As both author and illustrator, how did you approach combining words and visuals? Which came first, the story or the imagery?

Definitely the story came first. Once I had the concept of the idea or the theme I wanted to explore around, I started developing the images. It was a cyclic process where I went back to the text every time I felt stuck with the illustrations and vice versa. At Cambridge School of Art, teachers encouraged us to work on the artwork while exploring different techniques and at the same time work on the text. Doing both activities at the same time is very useful and challenging, something I’ve never done before and is now part of my creative process.

Your illustrations are such a distinctive part of your work. How did you develop your style, and how does it reflect the story in this book?

One of the things I love about doing this project was trying different printmaking techniques and approaches at Cambridge School of Art. From screenprinting, monoprint, etching to watercolours, pencils, chalk pastels, I tried all the materials I had available at my desk and at university to work on the illustrations. I was sure of the soft and gentle atmosphere I wanted to reflect on each page, so when I was testing and experimenting, the result that I loved the most was chalk pastels, watercolours and ink. At the same time I did lots of observational studies in my sketchbook at the Zoo, at the park and from animal documentaries.

Is there a personal or emotional connection you have with this story or its themes?

Yes! All the inspiration and motivation to do this book was based on my relationship with my family. I lived in Peru for 30 years before moving to Cambridge, UK 2 years ago to do my Masters Degree, and being away from my family made me feel emotional and sometimes lonely. When I had the opportunity to start working on a personal project during the course, I found that inspiration came from those feelings and I didn’t hesitate to do something related to that. From the beginning, I was very excited and I wanted to write and illustrate a story that would bring me joy in the process and it really was. I woke up everyday feeling excited about working on the book and hearing from my teachers and classmates that the story was a reflection of who I am, which made me really happy.

What were the biggest challenges in bringing this book to life, and how did you overcome them?

One of the biggest challenges was choosing the right technique for the illustrations. During the course, we were encouraged to try everything and experiment with lots of different materials. At the end of the week, I ended up with a pile of papers of animals in different techniques. I loved that because I was amazed at how an image can change its meaning and feeling with a different colour or material. So I used printmaking techniques such as screen printing, monoprint, etching and also watercolour, chalk pastels, inks and pencils, which all of this made the decision a bit harder. But in the end, I’m happy with the result because I chose the one that relates to the story and evolves the atmosphere I was looking for.

How has working with your agent shaped your journey and this debut?

Working with my agent Susan Penny has been an amazing experience and I’m very grateful for everything she has done to find the publisher for my first picture book. We met during the Graduates Course Exhibition at London. I was participating in my course, with my portfolio and projects and when I saw her email about working with me, I felt very happy. Talking to her about my ideas and dreams as an illustrator is one of my favourite things to do every time we get together, and I enjoy having someone who trusts your work and encourages you to do more of what makes you happy.

How did the Cambridge MA influence your career?

Doing the MA Children’s Book Illustration at Cambridge School of Art in Anglia Ruskin University has changed my life! From the first module of observation and experiment I’ve changed the way I approach a sketchbook and draw. Looking carefully and drawing as part of my daily routine has improved my technique. One of the quotes I love the most and stuck with me throughout my entire journey in the course was by Ronald Searle. At Cambridge School of Art it was drummed into us that we should ‘not move, eat, drink or sleep without a sketchbook in hand’. Consequently the habit of looking and drawing became as natural as breathing. It served its purpose not only by bringing one a feeling of freedom in drawing but also to store up a massive collection of detail in the head. This way of thinking motivated me a lot during the first weeks of my studies and shaped the way I approach a new project, always trusting the creative process and having a sketchbook as a tool to learn, explore and create.

How do you hope readers will connect with this story and its illustrations?

Creating this book has been a joy and an emotional adventure. When I think about the process of making this book, there’s an image that pops into my head, and it’s a Richard Scarry illustration where animals are reading a book that has been used a lot of times, and it makes happy to dream that my story could be one of those books you ask for a lot before going to bed, at a reading club or at playtime. I created every page with love for my family and for animals. I hope people will feel the same and that this story brings them closer to the ones they love.

---

Our Love is out now! Get your copy here.

To work with Fátima, get in contact with her Agent Susan Penny here.